visual references
(references as a type of token contents that are close to what we understand as categories)
Potter, Norman. (1990). Models and constructs—Margin notes for a design culture. London.
Hyphen Press.
lists and maps
(a book as a territory projected unto an interior space [camera obscura])
#01 electrospheres theodor.barth@khio.no A-2020
This flyer-series explores the affordances of what Anthony Dunne (2006) called the electrosphere. The concept is explained on the back-side of this flyer. It appeared in a report published at KHiO on a collaborative project between the Norwegian Academy of Music and KHiOs MA in design.
The project was developed conjointly at the two schools, with the Munch Museum as a test-location, and then performed at the Pompidou Centre for an audience of 700-1000 visitors from the Parisian suburb, targeting a youth group with few experiences of seeing/experiencing art in the Jeudis project.
Som of the original ideas for the Centre—developed and realised by Piano and Rogers—were expressed in that project: the mutually adjustable space between people and art. The report is available at the KHiO library. And its relevance under the Corona situation in the KHiO building, is explored here.
KHiO [attempt] 20.09.20
#04 electrospheres theodor.barth@khio.no A-2020
On the upper island in the Aker-river outside KHiO, I covered the discussion slot in the standard structure of our theory-courses in MA1, by recording the gathering with a binaural microphone head set and a high definition video app. I moved around, let the camera cover the between-space and the talk.
The setting was chosen to prompt a discussion on a potato-growing project that Kaja Krakowian and Tone Bjerkaas (MA alumni) had carried out in the Spring. During the lockdown all exchange went through Zoom (incl. exams).
The potato field served as a backdrop to two complex bodies of MA-work.
How to develop a body of knowledge when the conditions—as the lock- down gave way to hybrid learning conditions—impose fragmentation? The backdrop needs to be specific in order to intercept, organise and generate a variety. In the electrosphere, the technical setup does these three things.
KHiO [return] 22.09.20
visual… …r efer ences
a North way
[motto—to wicked problems, with an attitude]
1. In the European concert the North has been a ‘cultural stage’ for long conversations about life, interpersonal realism and existential adventure, on the backdrop of nature as a silent witness.
2. A North-philosophy with claims for originality & global relevance is Arne Næss’ ecosophy; human existence is set adrift—or, in motion—by critical environmental changes.
3. The North has developed a ‘non-metaphysical’ culture, which means that concepts that are sealed through education, unlock through the care and hardships of a life-in-motion.
4. Exposing the elements of “life as it moves” lies at the core of a culture where design has a clarifying power—where materials, form and function extend in value, readability and use.
5. Life is contingent—it doesn’t happen because it is important, but it is important because it happens. Its implied components are the found, the negotiated and the unknown.
6. The North-discourse takes a practical approach: 1) making is thinking, 2) knowledge strategies are non-proprietary and 3) the teaching/learning-methods are non-oppressive.
7. The push of the North-education lies in the discovery that clarification is a seed which encapsulates a tremendous amount of energy: clarification is tactical information. 8. Taking pains—walking the extra mile—is a method to reach the spot where the work of
clarification can begin. Experimenting with materials, gives experience with materials. 9. A good question is a conversation-starter. An improved question is a decision-maker. A
conversation partner is a treasure, because the other functions as an ‘asynchronous mirror’.
10. Language is untimely, it rarely gives what you came for: it is therefore is a powerful generator of images that live in their own time, contain their own reality, shine with a glow of their own.
11. Tactile experience interfaces between the senses: hearing, vision, taste and smell—it allows the transposition of movement unto body-sensing and body-learning. Providing tactile credibility. 12. Means, constraints, opportunities and response are synchronised by tool-work, desk-work and
stage-work. The relation between them is telescoping and involves the entire person.
13. Refer actively—we engage in conversations with other people and their work when we have made some ground. Without grounds to hold we become merely star-struck and mundane.
14. Reach out: we are neither out to be conquered nor to conquer. We know our stuff very well, we are generous and critical. Help others, show what we can, hatch new repertoires: criticality. 15. An object has been explored if we show (a) the function of the form in terms of the properties
of the object, (b) the value of the material in connecting the readability of the object with its use.
16. Let justice be done: if we insist that there should be a relation of consequence between premises and conclusions then we can tease out the contingencies of the work.
17. If we want to develop environmental intelligence and -literacy, we must improve our observation skills, and help others do the same. If we see the harm we will not allow it.
18. On the backdrop of the North way there are absolutely no reason not to seek learning- experiences abroad. The North exists wherever you take it. Make a stand.
19. Seek always the resident principles (1), and find them where they belong: in the job itself (2). Superpose these two approaches: they will entangle and intra-act from afar—quantum-work.
20. Hence the precepts of ecosophy-q: communication yields tactical information, the North way yields earth-awareness (E. Morin). It contributes to humanity, set adrift in the age of mobility.
*
^0^ South of Oslo, over the water, there is foreland with a curious name: Nedoddtangen. The name is an oddity because it is made up of three words meaning the same thing: ‘nes’—‘odde’—‘tange’
(foreland, promontory, cape). Like a count-down (against the clock) to reach the ferry—which people going to Oslo have to reach every day—or a count-up (with the clock) coming home after day’s work: a “wicked problem”, when you think of it (you try too hard you add to the problem; if you don’t try hard enough, same thing—you have to hit bull’s eye)! A ‘ground zero’ of the North.
theodor.barth@khio.no
interceptions@centre_pompidou
[an archive-documentary in the Tacit Zone]
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interceptions[at]!!
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!! ! !!! Theodor
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